James Miller’s DELUTS Creative LUTs Discounted 25%, with New LUTs Collections and Methodologies Added

Cinematographer/Director of Photography James Miller of DELUTS has been busy of late updating and adding to his DELUTS creative LUTs collections, most recently releasing a DELUTS Universe ARRI Set, a DELUTS Lightroom ACR Looks set, DELUTS C200 Looks and Transforms, DELUTS Overlook, DELUTS Universe Red Digital Cinema IPP2 Set v1 and DELUTS Universe, a whole new concept in sequential LUT application inspired by the beauty of Log C footage from ARRI’s ALEXA cinema cameras.

james_miller_deluts_acr_look_profiles_01
Profile from DELUTS ACR Look Profiles collection applied to original TIFF file provided by James Miller of DELUTS.

“… I first started DELUTS in 2015 after years gathering look profiles that I have generated for film projects. I decided to share these and have tried to build upon this offering creative looks for Video and now for Lightroom & Photoshop using the new Profile system in CC 2018 versions.

The DELUTS Universe set was born after nearly 2 years building the back bone of the system. If you just need looks to go over the top of footage that you have already balanced, then thats the DELUTS Overlook set is a great place to start. If you are working with images and want the look of DELUTS with RAW, TIF, JPEG etc then the new DELUTS Lightroom ACR Looks is the one to use. I have offers when purchasing 2 certain sets. The DELUTS Lightroom ACR Looks & DELUTS OVERLOOK are a great match for video and stills.”

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9to5Mac: Logic Pro X gets major update: ChromaVerb, Vintage EQs, Multi Effects, more

https://9to5mac.com/2018/01/25/logic-pro-x-update-chromaverb-vintage-eq/

Apple has now released a new update for its flagship music recording software, Logic Pro X. While we are getting a very long list of minor tweaks and enhancements here, version 10.4 is bringing some major new features to the table along with some serious gear in the way vintage EQ emulation, new orchestral instruments, a pair of multi-effect plug-ins and hundreds of new sounds.…”

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Apple updates Logic Pro X to version 10.4 with the addition of new temporary detection technology, powerful new plugins, new Drummers, 800 additional loops and a new library for Alchemy synths with 150 cinematic presets.

Commentary

Apple’s affordable though high-end sound and visuals post-production software suites, Final Cut Pro X and Logic Pro X, have been given some impressive updates recently with the former gaining pro-quality colour grading features while the latter has received plenty of music-oriented improvements and content.

Now the stage is set for Apple to introduce some really big, long-needed improvements in its audio-editing and sound design capacity to equal or surpass the credible threat rendered by Blackmagic Design’s DaVinci Resolve 14 and its built-in Fairlight Audio page tools obtained as the result of the purchase of the legendary Fairlight audio and video hardware and software company.

Apple’s two separate post-production suites need to be made to work together in a far closer, far more intuitive way than they do at the moment to the degree that it would be unthinkable to use one without the other.

Let us hope that Apple has some pleasant surprises up its sleeves this year, but not too late in the year as Blackmagic Design is already roaring ahead with full audio integration in the free and paid-for versions of DaVinci Resolve 14.

Links

Ronny Courtens: Colour Grading Workflow in Final Cut Pro X Using Chromatic

“… In his presentation at the FCP X World event at IBC, Roger Bolton from Coremelt demonstrated how you can accelerate grading, enhance client presentations and get great results quickly using the Chromatic grading tool….”

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Leeming LUT One for Panasonic GH5 and Other Panasonic Cameras Now at Version 501, Supports HLG, V-Log L and Cinelike D

NOTE: Since this article was written some time ago, Leeming LUT One has been updated and improved again with version 502 and is to be followed soon with version 601.

You may wish to read this more recent article here:

Australian cinematographer/director Paul Leeming has released version 501 of his groundbreaking Leeming LUT One camera profile 3D LUT for the Panasonic Lumix GH5 4K Super 16/Micro Four Thirds camera in three flavours based on which picture profile your footage is shot with – Cinelike D, HLG or V-Log L. 

Still frame of Paul Leeming, shot on Panasonic Lumix GH5 in HLG HDR mode then processed in Blackmagic Design DaVinci Resolve Studio 14.

Mr Leeming chose the GH5 as his benchmark camera and will be updating other Leeming LUT One camera profile 3D LUTs soon, enabling cinematographers using a range of cameras to start “with a common, colour-matched baseline, meaning much less time trying to match cameras in post before starting your creative grading”.

Users of previous versions of Leeming LUT One may notice a change in the behaviour of version 501 when applying it to old footage, resulting in a darker rendition:

The new philosophy is zero brightness shift in the LUT itself, so the only shift is to the colour values. At first this may seem like the LUT is not doing anything, but watch skin tones in particular when you apply it and you’ll see the difference. Of course the other colours are fixed too, but skin is where you’ll see it most easily as it’s a pretty obvious shift from yellow to skin tone.

Leeming LUT One for Panasonic Lumix GH5 and X-Rite Color Checkers

Leeming LUT Quickies, a set of free looks LUTs, will also be updated to work better with Leeming LUT One version 501 but in the meantime Mr Leeming advises using the current version at “40% intensity (or gain)”.

Given the colour science characteristics shared by current top end Panasonic Lumix cameras such as the GH5, GH4 and GX8, it appears possible to apply Leeming LUT One to all three cameras to obtain similar colour grading starting points.

I will be putting Leeming LUT One 501 for the GH5 to the test on GH4 and GX8 Cinelike D (aka Cine-D) footage over the coming days, but my early tests using a late beta of 501 showed marked improvements over previous full versions of Leeming LUT One.

Leeming LUT One for Panasonic Lumix GH5, HLG, Before and After

The GH5’s HLG (hybrid log-gamma) picture profile is intriguing given it is an HDR (high dynamic range) standard developed by the BBC and NHK for future program creation and broadcast in 4K and higher resolutions.

While HLG HDR 4K 10-bit 4:2:2 production and post-production are not fully supported by current hardware and software, the wisdom of future-proofing your work has been borne out many times in recent years starting with the move to 1080p and then 4K.

Mr Leeming and Leeming LUT One version 501 for GH5 users have reported anomalies in various non-linear editors and colour grading plug-ins when applying the LUT to HLG footage, and testing is currently under way to work out optimal software and workflows.

As with any radical advance in video production and postproduction, software needs to catch up with the capabilities of new hardware and this is no exception.

The advantages of HLG HDR may persuade movie and TV show makers to adopt it as their new default standard when it is fully supported.

Mr Leeming reports that:

My new favourite profile is Hybrid Log Gamma. It uses more of the 10 bit space than V-LogL, and has just as much dynamic range as far as I can see.

It also has slightly more accurate tonal density response (the relationship between colour and saturation/luma levels).

Best of all, it’s a free profile in camera, instead of a $100 activation code sent half way across the world….

Only down side is it’s not available in 8 bit, but for that, we can continue to use old faithful, Cine-D.

Roger Bolton of Final Cut Pro X plug-in maker CoreMelt has been sent Leeming LUT One to test it in his recent-released high-end colour grading and LUT application plug-in for FCPX, Chromatic, and I look forward to his report with interest.

Other such colour grading and LUT application software seems to be having problems with HLG footage.

Meanwhile Blackmagic Design’s DaVinci Resolve 14 Studio colour grading and non-linear editing software is reported to be handling the GH5’s 10-bit HLG HDR footage well and readers are encouraged to download the free version or invest in the paid version if they have not already done so.

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Image Credits

Header image concept and hack by Carmel D. Morris.

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Coming Soon: Review of Digital Film Stock (DFS) 3D LUTs for the Natural Look of Analog Film

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The Edit Room: How to track a mask using Chromatic from Coremelt

“In this video, I show you a brief look at Chromatic from Coremelt, which you can download [as] a free trial at https://www.coremelt.com/products/chr…

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Let’s Motion: Color Finale 1.7 sneak peak — HSL Curves tool

“I hasten to inform you that I was very lucky! I ended up in the team of beta testers Color Finale 1.7 and it’s really amazing product.
I’m not a colorist at all, quite the contrary! But even I managed to make a quick and acceptable color correction in Color Finale 1.7
Whats new:
– HSL Curves
– Rewritten Color Wheels with better response
– New LUT Gallery
– Export LUTs
– CDL Import/Export
– Undo is rewritten
– Lots of bugs fixed ( some added)
If you are interested – you can write to support@colorfinale.com, and offer to become a beta tester. Hurry to try, release soon!
And yes — upgrade from previous version is for FREE!”

Related Videos:

Grading Panasonic Lumix GH5 Footage? This List of LUT Plug-Ins and Color Grading Utilities for Final Cut Pro X May Be Useful – UPDATED

A number of Panasonic Lumix GH5 owners using Final Cut Pro X with LUT loading plug-ins have reported varying LUT interpretation results with 8-bit and 10-bit footage. The problem involves clamping or lowering the footage superwhites after LUTs have been applied. 

High whites are well-preserved in GH5 V-Log 10-bit 4:2:2 footage with Leeming LUT One applied in Premiere Pro, before and after

The most common problem reportedly does not appear in Adobe’s Premiere Pro NLE using the Lumetri Color panel, but seems to be centred on Apple’s Final Cut Pro X or more specifically some current versions of third party LUT-loading plug-ins.

So far the specific causes of this problem, and its permanent solution, have not been 100% identified, but it may be useful to share a list of the free and paid-for LUT plug-ins and related software that are currently available. If the cause resides in one or more specific LUT plug-ins, then it may be wise to try out others on the list below.

Meanwhile Premiere Pro itself has some problems with correctly supporting 8-bit and 10-bit GH5 footage and Blackmagic’s DaVinci Resolve colour grading software-cum-NLE also seems to incorrectly clamp super whites after LUTs have been applied.

LUT and colour grading plug-ins, and applications

  • Chromatic – currently undergoing development, CoreMelt’s Chromatic color grading plug-in is their “all in one color grading plugin that combines curves, color wheels, tracked masks, inside-outside mask grades, selective color correction, LUT loading and management and degrain, regrain all in one tool.”
  • Color Finale and Color Finale Pro – colour grading plug-in suite with LUT loading capability, made by Denver Riddle of Color Grading Central.
  • Epicolor – intriguing new product by Lemke Software, available through FxFactory, includes a post production LUT application feature.
  • FxFactory – retails a catalog of plug-ins and effects for Final Cut Pro X and other NLEs including colour grading plug-ins.
  • FCPX LUT Loader – free plug-in for Macs running macOS Sierra and later, made by FCPX plug-ins specialist Pixel Film Studios, which offers a number of LUT looks packs for purchase.
  • LUT Buddy – free LUT loader plug-in by Red Giant, formerly available as a separate download but now included in Red Giant’s Magic Bullet Suite 13, available in a trial version.
  • LUT Gallery – according to maker Denver Riddle of Color Grading Central, the “most powerful way to do color grading with LUTs! Includes Auto WB Color Picker”.
  • LUT Utility – by Color Grading Central, also maker of Color Finale.
  • LUTx – FCPX plug-ins maker CoreMelt states that LUTx is “the most powerful LUT solution for Final Cut Pro X” and retails a number of looks LUT collections.
  • mLUT – free LUT loading plug-in by motionVFX, retailer of a range of looks LUT packages.
  • ScopeBox – professional scopes application for macOS computers, that allows feeding video from a range of DIT tools and Adobe video software as well as Final Cut Pro X into ScopeBox via ScopeLink. ScopeBox maker divergent media says that “the scopes found in most desktop editing applications leave a lot to be desired – they’re not accurate, they’re slow, and they’re not configurable”.

The crux of the problem and a workaround

Paul Leeming of Leeming LUT One describes the problem as follows. The LUTs from his unified, corrective LUT system are “designed to maximize dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec. 709 starting point for further creative colour grading”.

The Leeming LUT One system provides “the best possible settings to maximise dynamic range and image quality for that camera, while minimising noise and other unwanted artefacts”. Thus the system’s LUTs are “designed to work with the full float levels of the video clips as they come out of camera”.

“Some cameras stop at 100 IRE, but others such as Panasonic and Sony retain superwhite up to 109 IRE (usually), so my LUTs are designed around that limit, not the 100 IRE limit,” Mr Leeming says.

He offers one potential workaround, until LUT plug-ins are updated to support float space. “The easiest temporary solution is to adjust IRE for clips to fall within 0-100 IRE, then apply the LUT, as in theory the distribution of values in float space should be the same. That should avoid clipping”.

Mr Leeming notes that he designs Leeming LUT One in Premiere Pro which “handles superwhites with the LUT directly” and “no need to pull down exposure” and was “not aware that there were programs which didn’t pull down superwhites or lift superblacks”.

A more permanent solution

Roger Bolton of CoreMelt, developer of Chromatic and LUTx, has further insights into the problem and its solution:

A LUT is defined in the color ranges 0-1 in float with 1 being defined as the highest legal level (100 IRE). You can stretch the LUT out to handle the additional levels but that’s changing the look of the LUT if it was designed on legal levels. There’s not really a “correct” solution that I’m aware of, so how a LUT loader should handle this is something that needs flexibility.

As Chromatic is currently under development, Mr Bolton says that “we plan to allow a few different ways of dealing with the issue” and has asked users to send him their requests. He states that LUTx will be updated to handle superwhites and Chromatic will also handle them when released.

Update

CoreMelt has released Chromatic and its is available as a 14-day free trial or as a special launch offer for one week only, closing at Pacific Standard Time (PST) 7th August 2017. The special offer contains Chromatic and over 150 LUTs.

Links

Image Credits

Still-frame from footage shot by Paul Leeming with Panasonic Lumix GH5 using V-LogL and Leeming LUT One GH5 settings then processed in Premiere Pro with Leeming LUT One for GH5.

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Competitions: RØDE Microphones’ My RØDE Reel 2017 and Zacuto’s My Story Filmmaking Competition

There are three short film competitions to watch out for each year and two of them hail from this part of the planet, The Antipodes. Two are current, RØDE Microphones‘ My Røde Reel and Zacuto‘s My Story Film Competition, with the latter closing acceptance of entries on 31st March and the former closing entries acceptance on 30th June. 

New Zealand colour grading software maker FilmConvert‘s Color Up Competition is in between seasons right now, as it were, with 2017’s coming later in the year. Time flies so I am sharing details here so you can be ready for when comp time comes around.

RØDE Microphone’s My RØDE Reel

Click the image above to go to the competition web page.

All three competitions come with great lists of attractive movie-industry prizes and sponsors, with RØDE Microphones stating that My RØDE Reel, now in its fourth year, “is the world’s largest short film competition”.

My RØDE Reel is also notable in that it offers a special Female Filmmaker award that is “selected by the judging panel, [and] is designed to encourage and celebrate women in the film community.”

I will leave it up to the three companies to share the details about each competition as only they can so if you wish to know more, please click on the links embedded in the text above or the links below.

Links:

Image Credits:

Header image concept and design by Carmel D. Morris.